It is indeed a pleasure to get familiar (little by little) with Ferdinand Ries. A composer absolutely noteworthy ... and 'up there' with his contemporaries. Thanks very much for introducing him.
Ries was very much part of Beethoven's very small inner circle and seemed to have had an uncanny resemblance to Ludwig not only in appearance but also in piano playing. As his copyist and secretary he must have had a unique and unusual insight into his works. The fact that he wrote this septet for Count Razumovsky means he was seen as on equal footing with a house where Beethoven pretty much had unlimited entry and support. We cannot underestimate the importance of Ries in Beethoven's life and vice versa of course........
I'm not an expert, but I know that there are Decets, for ten instruments (for example by Enescu). I also think that Wagner's Siegfried Idyll is scored for thirteen instruments and he calls that a small orchestra.
@@user-tl8oj4tv1g There's the '13-et' Gran Partita by Mozart, as well for pairs of Oboes, Clarinets, Basset/2 differently-tuned Horns, Bassoons and String bass.
He made two different versions depending on ensembles he worked with. He very probably had two opportunities to perform this work but with different ensembles. It was quite common for those days. I have seen a Sonata for flute, or clarinet, or bassoon with piano by Dutch composer Johan Coenen. It also makes for a wider sales opportunity.
ries might be considered a lesser composer but he's a master at his craft...
The chamber music of Riess is always above average, a beautiful septet. Thanks !
It is indeed a pleasure to get familiar (little by little) with Ferdinand Ries. A composer absolutely noteworthy ... and 'up there' with his contemporaries. Thanks very much for introducing him.
I. Adagio molto. - Allegro molto con brio.
II. Marcia funebre. 10:02
III. Scherzo. Allegro vivace. 20:41
IV. Rondo. Allegro. 25:47
Magic Flute Ouverture feelings in the first bar!
Beethoven's Septet Op. 20 is a clear inspiration.
Also, love the little quote to the Op. 10 n. 3 Menuetto at the close of the Rondo theme
Ries was very much part of Beethoven's very small inner circle and seemed to have had an uncanny resemblance to Ludwig not only in appearance but also in piano playing. As his copyist and secretary he must have had a unique and unusual insight into his works. The fact that he wrote this septet for Count Razumovsky means he was seen as on equal footing with a house where Beethoven pretty much had unlimited entry and support. We cannot underestimate the importance of Ries in Beethoven's life and vice versa of course........
I hear Op 26 and Op 27 no 1 influences as well!
フェルナンド・リースとその師であるベートーヴェンはショパンに多大な影響を与えました。
So add one more and it's an octet. At what moment does it become a small orchestra instead of an expanded quartet?
I never heard anything bigger than a nonet. So that's probably the max.
I'm not an expert, but I know that there are Decets, for ten instruments (for example by Enescu).
I also think that Wagner's Siegfried Idyll is scored for thirteen instruments and he calls that a small orchestra.
@@user-tl8oj4tv1g There's the '13-et' Gran Partita by Mozart, as well for pairs of Oboes, Clarinets, Basset/2 differently-tuned Horns, Bassoons and String bass.
Why does it say "quintuor" on the score?
He made two different versions depending on ensembles he worked with. He very probably had two opportunities to perform this work but with different ensembles. It was quite common for those days. I have seen a Sonata for flute, or clarinet, or bassoon with piano by Dutch composer Johan Coenen. It also makes for a wider sales opportunity.
0:15 why are some rests mirrored?
Those are 1800s-era quarter rests. Yes, very confusing!
@@sidlori1592 interesting, I've never seen this before